Manga Bookshelf

Discussion, Resources, Roundtables, & Reviews

Michelle Smith

Roundtable: Sailors Moon & V, first volumes

by , , and 2 Comments

MJ: Back in March, the Manga Bookshelf Battle Robot got together to share some squee about Kodansha Comics’ announcement regarding their upcoming re-release of Naoko Takeuchi’s Sailor Moon. nine months later, this re-release is well underway. The debut volumes of of both Pretty Guardian Sailor Moon and its predecessor, Codename Sailor V dominated Matt Blind’s Manga Bestseller charts for months, with preorders of later volumes hitting the top charts well before they’ve been released.

As a newcomer to the series, I’ve been anxious to reconvene the Battle Robot’s original discussion now that I’ve had some real exposure to the series, so I’m quite pleased to say that Michelle, David, and Sean (a newcomer to the Bookshelf since our first go-around!) have agreed to join me once more!

I’ll talk about my impressions of the series in a moment, but first, I’d like to ask the rest of you–all fans of the series previously to one extent or another–how well the series has held up for you since your first experiences with it. Has this re-read stood up to your expectations?

SEAN: Oh, definitely. I’ve always liked the manga better than the anime, even though I’ve enjoyed both immensely. And since I’ve been involved in the fandom since 1996 or so, I did not have any issues with Usagi’s characterization the way that some people have. Honestly, the re-read of Vol. 1 of both Moon and V just made me realize how much I wanted to read the rest.

MICHELLE: I actually liked it *more* than I thought I would, because I was unprepared for what a difference actually reading it in English would make. There’s an immediacy to having understandable words on the page that you just don’t get when looking back and forth between a physical book in Japanese and a translation on a screen. Like Sean, I have loved Sailor Moon for a long time, so Usagi was exactly what I expected her to be at this early stage. It must help having advanced knowledge of her more competent moments!

DAVID: This is actually my first time around with the manga. I’ve seen a lot of the anime, though. This is really rare for me, but I actually like the anime more, and I think it’s because of what Michelle just said about Usagi’s competence. I’m reading a lot of titles right now that feature spunky, can-do heroines, and this early evolution of Usagi strikes me as a huge, can’t-do whiner. Is that blasphemy? I love the other sailors, though.

SEAN: This is an issue that I’ve thought about for some time. I discussed it a bit in my reviews of Teru Teru x Shonen as well. When you have a story where your goal is to take a very flawed heroine and gradually make her grow up and improve, how annoying can you make her at the start without losing your audience? I know with both Sailor Moon and TTxS, I had people tell me, “I don’t care if she gets better, I found her so aggravating I don’t want to read how it happens.” As David noted, the process might be helped here by the addition of the other senshi, who the reader can identify with as well. (Ami was the most popular senshi in many polls in both Japan and North America, for reasons that should be obvious.) It also might not be helped by seeing the Sailor V manga as well, as Minako is flawed in different ways, and I think Western fans approve of ‘shallow ditz’ more than ‘whining crybaby’ by default.

I also read the Super S manga first, so had exposure to Usagi’s epicness before I went back to read the early stuff.

DAVID: I think the comparison with Sailor V definitely doesn’t help, because her reaction to the circumstances feels more natural. She’s excited that she can become glamorous and powerful and, to a lesser extent, help people. If Usagi had something compelling going on in her life, the added responsibilities might actually seem like a burden, but she seems put out because it’s cutting into her nap time. It reminds me of how right Joss Whedon got this dynamic so right with Buffy, whose destiny was really gruesome and dangerous, and Cordelia, who went from being very shallow to really enjoying making a difference. Usagi is a very “Math is hard!” type. I’m looking forward when manga Usagi catches up with anime Usagi, who was a lot more likable and credible.

MJ: This might sound crazy, but I was actually really surprised after I read volume one and then saw everyone describing Usagi as annoying. I get that she’s slow to embrace her destiny and complains about it a lot, but it didn’t affect me the same way. I guess maybe I’m used to working with teens who complain that you’re ruining their lives if you ask them to practice between lessons or enunciate when they sing. By comparison, Usagi’s whining seem pretty reasonable. She doesn’t strike me as overly immature for her age, and I thought her little mental freak-out near the end of the volume over the fact that she’s supposed to be the leader of this group of girls, each to whom she feels stunningly inferior, read as very natural and relatable. I actually kind of…. like Usagi. I wonder what that says about me! Heh.

SEAN: I’m trying to think of comparable heroines… Miaka from Fushigi Yuugi, if I recall, had a similar issue with fans calling her a ‘whiner’. It seems to be far more of an issue here than in Japan… impulsiveness is not as much of a sin as reluctance or running away.

MICHELLE: Oh, maybe consuming the story out of order has a hand in my feelings, too, since my exposure to Sailor Moon was the third season of the anime. I guess all we can really do is assure people that Usagi does mature while still essentially remaining herself.

SEAN: Actually, while we’re discussing the anime, and how some of us saw that first, I wanted to mention the only character who is noticeably different between her anime and manga incarnations: Rei Hino. Rei in the manga tends towards the cool and collected, and might occasionally be grumpy or irritated with people, but for the most part is meant to show ‘aloof’ more than anything else. Rei in the anime, is, well, a hothead, who is contrasted with Usagi – and also compared, as the fights the two of them get into (and the arguments over Mamoru) make us realize their similarities. At least in this first volume, Usagi does not really have this – the other three senshi we meet are all more together or have better attitudes. I do wonder if the manga might be better presented in five huge volumes, one for each arc – I think Usagi grows a LOT in future volumes, and seeing this is easier once you get Vol. 2 and 3 down as well. And as I said earlier, I wonder why Rei was the only one gives major changes for the anime. (You can argue Minako was made flakier, and to an extent that’s true, but Rei’s seems DIFFERENT in a way that Minako does not.)

MJ: I’ve never seen the anime, outside of maybe one episode, so I came to the first volume of the series (and Sailor V too, of course) without really knowing what to expect. Even though Sailor Moon is iconic, I never had a clear sense of why people really loved it, even when friends would try to tell me. So I feel like I came to it with no expectations at all.

Honestly, I was charmed from the very first pages. It helps of course that I adore older shoujo art styles, but it wasn’t just that. There is a sense of, oh… girlish joy woven into the fabric of these books that I haven’t experienced to this extent since my pre-teen years when I was consuming things like Maida’s Little Shop and the Betsy-Tacy books as rapidly as I could acquire them. Of course Maida Westabrook and Betsy Ray weren’t fighting evil, but theirs were the kind of books that, even in their dated settings, seemed to take for granted that girls were brilliant, capable people with nothing to be ashamed of. They could run their own businesses or become famous writers, but they could also angst over friendships and romantic prospects, make mistakes, hate cooking, and leave their family’s religion, without tarnishing their awesomeness as girls in the slightest.

Sailor Moon and Codename: Sailor V are the same kind of books for me. The short skirts and concern over prettiness that I worried might be a problem for me, ultimately are exactly the opposite. These girls are allowed to care about feeling pretty and other typical teen things, but there’s never the sense that they need to care about these things in order to please boys, or for any reason other than because they enjoy it. In a way, this may even be related to why I like Usagi. She doesn’t feel terribly ashamed for wanting to nap instead of being ordered around by a cat with big claims on her destiny, and on some level I’m with her on that.

MICHELLE: MJ, I’m so glad that you love these books. I remember in our first roundtable attempting to reassure you that the girls calling themselves pretty really makes all the difference in the world; it’s like an empowerment thing. As I read your comment, I wondered whether people who approach this manga will fall into two camps: those who love it while spewing copious hearts and those who wonder what all the fuss is about. Is there a middle ground of people who simply kind of like it? I’m not sure.

Sean’s point illustrates why I’d recommend reading the manga and watching the anime. Personally, I like the manga version of Rei a lot more, and her squabbles with Usagi in the anime are kind of irritating. But there’s more humor in the anime, more fleshing out of character relationships (or at least more flirting when Haruka and Michiru come along), and more time for the villains. Several of Queen Beryl’s henchmen are dispatched in the first volume of the manga but stick around for dozens of anime episodes. Some of the villains are fun characters so it’s nice to have the opportunity to spend a little more time with them.

DAVID: I definitely feel like I fall into the middle ground that you theorized about, Michelle. I like a lot of these girls, and I like the fact that they still get to be teen-aged girls with specific lives and interests outside of their shared destiny. I tend to be of the belief that a little vanity and a little glamor should be a universal quality in super-hero fiction, which Sailor Moon certainly is. There should always be moments when the protagonists kind of step back and realize that their lives are pretty fabulously cool in a lot of ways, and I definitely get that vibe here.

I also really like the fact that none of the Sailors, even Usagi, are shrinking violets when the time for battle comes. They might not know exactly what they’re doing yet, but they know it has to be done, and they don’t tremble. After some awkward moments in the first volume of the generally wonderful Princess Knight where Osamu Tezuka seemed to be suggesting that a girl can’t be feminine and tough at the same time, Sailor Moon is definitely a tonic in that regard.

MICHELLE: Your first paragraph reminds me of a great exchange between Buffy and Faith (and for once I am not the first person to inject Buffy into a conversation!) in season seven where they’re commiserating about their dangerous destiny and Faith says, “Thank God we’re hot chicks with super powers.” “Takes the edge off,” Buffy agrees.

That sentiment definitely manifests in Sailor Moon, as I can think of several painful or pivotal moments for Usagi during which she has transformed into a serene and lovely version of herself.

SEAN: That’s a key thing about the series: Mamoru may give encouragement, or tell her not to doubt herself, He never saves her. She’s always the soldier, even when she’s the princess. In fact, that’s the unique thing about this incarnation as opposed to past lives: she *is* a soldier, as well as the princess to be protected. And this is one of the main reasons why they don’t die again (well, OK, they do, but they get better.) Mamoru may be a dashing prince and boyfriend, but he loves her strength. (Also, note how the series shows that a) you don’t need a boyfriend to validate yourself, but also b) if you get one, that having a handsome and understanding boyfriend IS great.)

MJ: So to switch gears a little, let’s talk about Sailor V. I read this first, and though I liked it quite a lot, I did get pretty weary of its string of similar villains, whose only purpose in villainy seemed to be making people their slaves. After a while, it almost seemed like a running joke. Is it just me?

SEAN: Sailor V is a bit schizophrenic simply due to how it was conceived and played out. The magazine it ran in (Run Run) came out, I think, only 6 times a year. This necessitated every single chapter reintroducing the basic plot for new readers. (You see that a lot in some Hakusensha shoujo, such as Natsume’s Book of Friends or S.A.). Then once she was told to create Sailor Moon, she drew V sporadically for the next 7 years. And by sporadically I mean ‘about 5-6 chapters in the entirety of 7 years’. I think as she did this, she realized she wanted to wrap it up in such a way that it could end with V joining the cast of Sailor Moon (as indeed she does). Thus, Volume 2, which comes out everywhere but comic shops this week, has a much stronger plot and is slightly more serious than Volume 1 is.

As for the one-shot villains being a running joke, Takeuchi doesn’t come close to the creators of the anime. How can one top Doorknobdar, for example? XD Most shoujo magical girl genres feature incredibly silly one-shot minor villains, and stronger major villains who are not as silly. We’ll meet Minako’s main nemesis in Volume 2 as well.

MICHELLE: I had forgotten the doorknob one! I remembered “Hurdler,” who is basically a tennis shoe imbued with demonic power who menaces a bunch of runners. Probably I remember that one because it appears in the episode depicting how Haruka and Michiru met which I *may* have watched about four times as often as the rest of the series.

So yeah, I’m not sure if Takeuchi intended the enslavement plot to be a joke or what, but you’re definitely not the only one to wonder what the point of it all was, MJ. Not only that, they’re all singing sensations. Was Takeuchi making a dig at the idol biz?

DAVID: I have to admit that I found myself favoring the low-rent cheese of V. it doesn’t speak well of me, and I can see why Takeuchi was asked to do a proper version of the story, but I just… like it.

MJ: I think Takeuchi’s “low-rent cheese” is some of the most fun I’ve seen, so I can get on board with that, David.

So, other than Usagi’s character development, what should I be looking forward to in future volumes of Sailor Moon?

DAVID: Well, I’m not sure what’s on the horizon exactly, but I know that it will involve lots more Sailors and sidekicks, and, in my book, the more crowded a super-hero book is, the better.

SEAN: As you’d expect, you’ll see Minako and Artemis join the cast. Get ready for a lot of destiny talk, as well as epic fantasy flashbacks. There will also be some bloodshed – Takeuchi is not afraid of violence when it suits her plot. Vols. 2 and 3 will be less episodic and more serious – though there will still be humor. And a very interesting – and controversial – plot will drop in as the first arc ends. Literally.

MICHELLE: Ha. I’d say *that* particular plot is even more controversial than Usagi herself!

I am tempted to squee about the eventual debut of the Starlights (volume eleven), but they’re around so briefly in the manga that I’m not sure you’ll love them as much as I do after prolonged anime exposure. Actually, they bring around a controversial plot in their own way, or at least something that’s controversial among the fandom…

SEAN: Are there still Seiya/Usagi fans? Sheesh…

MICHELLE: Yep. There was some big brouhaha at Ask a Pretty Soldier just recently having to do with that pairing.

MJ: Oh, fandom. I’m not sad to have missed out on all of that.

Thanks to all of you for joining me here. I look forward to reading both series’ second volumes!

Pick of the Week: Old & New

by , , and 4 Comments

There’s a small but substantial haul coming in to Midtown Comics this week. See what Kate, MJ, Sean, & Michelle are planning to pick up!

KATE: This week’s shipping list is short, but includes one of my favorite new series of 2011: The Drops of God. Drops is, in essence, shonen manga for the over-21 crowd. The plot revolves around a brash, arrogant young beer executive who inherits a rare wine collection from his father, a leading expert on viniculture. The catch? Shizuku can’t claim his inheritance until he correctly identifies and describes thirteen legendary wines that are mentioned in his father’s will. Helping him is a sommelier-in-training, Miyabi, and an assortment of oddball oenophiles, each with a strong opinion about how and when to drink wine. The series is pure edu-tainment, striking the perfect balance between Dynasty-style intrigue and Wine 101 lessons; even more experienced wine tasters will learn something from the characters’ ecstatic conversations about terroir and vintage.

MICHELLE: Yeah, though this list may be short there are definitely some goodies on there. I’m going to cast my vote for volume 27 of Fullmetal Alchemist despite the fact that I, as of this very moment, have not read beyond volume two in this reportedly epic series. The reason for my enthusiasm is that MJand I are planning to devote our final Off the Shelf column of the year to FMA, which means I am going to be eating, sleeping, and breathing the series for the next two weeks. Stay tuned, and don’t miss this long-awaited finale!

SEAN: Christmastime brings the fifth volume of my favorite Ikki license, Dorohedoro. There has been some talk of weak plotting, which may or may not be true, but I don’t really care if it is: this is a series that is less a manga than a WORLD, one you want to immerse yourself in despite the inherent dangers. And Caiman journeying to the Sorceror’s World promises to try to shake things up a bit. Though I hope he’s not separated from Nikaido too long – the banter and friendship between the two, as well as between Shin and Noi, is another highlight. Recommended for those who want an ‘alternative’ manga that makes you want to walk around in its setting, even if you’d die almost immediately.

MJ: It’s unusual for a slow week to present me with such a difficult decision, but I’ll admit I’m squirming over the prospect of having to choose. I think everybody here knows how much I love Fullmetal Alchemist, and it kind of kills me not to choose it. But since Michelle has already taken care of that, I probably should lend my support to the penultimate volume of xxxHolic, out this week from Del Rey. I know some readers have given up this series, but I am emphatically not one of those readers, and I’m very anxious to see where things go now that it’s so close to the end. So, you know I’ll be out there grabbing up the final volume of Fullmetal Alchemist, but I won’t be missing out on xxxHolic!

Readers, what looks good to you this week?

Off the Shelf: Beer, cheese, & a bit of fluff

by and 12 Comments

MJ: Hi! Hi. Um… hi. I had a beer.

MICHELLE: I had string cheese!

MJ: Have you had manga?

MICHELLE: I have had! Relatively “fluffy” manga, comparatively, but manga all the same!

MJ: Tell me more!

MICHELLE: Well, one thing I read was the fourth volume of Kakifly’s moe comedy, K-ON!, which is about as fluffy as it gets.

I’m not sure how it happened, but K-ON! has gradually won me over. When I read the first volume of this four-koma series about a group of girls who form a pop music club at their high school, I was not impressed, finding the fanservice awkward and some of the characters gratingly stupid. Now, true, some of the characters are still gratingly stupid, but I seem to have become more accepting of the less-than-perfect aspects of this manga. Or perhaps I’ve simply lowered my expectations. In any case, I have finally come around.

This volume finds the four original band members studying for college entrance exams in an effort to attend the same school. For two of the girls, this isn’t a challenge—in fact, the wealthy girl is never actually seen studying and there’s a subtle implication that she might have a secret “in” on account of her status—but the other two are not very good students, so there is a lot of focus on their comical failures. Meanwhile, the youngest member of the group, Azusa, drops her stoic demeanor and gets weepy at the thought of being alone but is joined by a couple of new bandmates right at the end of the volume.

Okay, you know what? This isn’t the most original stuff out there. There’s also a high school festival involving a performance of Romeo and Juliet, and another instance of the girls giving a concert that happens entirely off-panel. But I kind of don’t care anymore. I like Azusa and I like “seemingly cool yet easily flustered” Mio and, Heaven help me, I even like the slashy potential in this series. (There must be mad troves of K-ON! fanfic!) Reading it cheered me up, and that’s what a comedy is supposed to do.

I guess what I’m saying is that I’ve done a 180º on this series.

MJ: I’m actually pretty glad to hear you say that! I’ll admit that I haven’t yet gotten into the manga (I missed the first volume, and never caught up after that), but I was pretty well enamored with the anime series, so I come to it all with a pro-K-ON! bias. I’m probably still more in touch with my young teenaged self than a lot of women my age (this is likely not a good thing), so I can still relate to these girls, and I suspect I wasn’t much less stupid, even if I was more school-smart than most of them. In any case, I’m happy this has turned into something enjoyable for you!

MICHELLE: Me, too. I’m still sad that we never actually see them playing anything, but a segment in which various members try their hand at writing song lyrics was pretty amusing. I’m not sure whether there’s more of the series or not—I’d originally thought it was complete in four volumes, but it doesn’t seem like it from how this volume ends.

Anyhoo, what’ve you been reading?

MJ: Well, I suppose you could classify my first read as “fluff” as well, but it’s classic fluff, so it has a very different feel. I’m talking about volume one of Osamu Tezuka’s Princess Knight, finally released in this country by Vertical, much to the delight of us here at Manga Bookshelf. I had a good idea of what to expect from this series, especially after Kate’s Manga Artifacts tribute last year, but my own reaction to it was still a bit of a surprise.

As Kate’s article makes clear, this is a lively, swashbuckling fantasy, and it’s very enjoyable as such. She covered the premise too, in which Princess Sapphire is born as a girl being raised as a boy, thanks to a pre-birth snafu that gave her both a girl’s and boy’s heart. I’ll admit, I wasn’t quite prepared for my own reaction to this.

I’m perfectly capable of viewing this manga in the context of its time, yet I’m still jarred by the notion that Sapphire’s strength and bravery are due only to her accidental ownership of a boy’s heart. I get that this may have been the only way Tezuka (or his readers) could deal with the idea of a swashbuckling heroine, but I wish he didn’t feel the need to keep bringing it up. There’s even a fight scene in this volume where Sapphire’s boy’s heart is momentarily removed, rendering her suddenly weak and afraid. Then her bravery and skill returns as soon as she gets the heart back again. That really bothered me, I have to admit.

Fortunately, the issues I’m having with the manga’s discussion of gender roles are largely overshadowed by the likeableness of its lead character. I really like Sapphire, and though she dislikes having to live as boy while her girl’s heart longs for everything she’s not allowed to have, she doesn’t reject the qualities that make her able to pass as male. She wants to wear dresses and she wishes she could crush on the neighboring prince a little more openly, but it’s hard to imagine her enjoying a life without the adventure her “male” role offers her.

Things take an interesting turn in the last few chapters of this volume, and I expect I might enjoy the second volume more than the first, if those chapters are any indication. But even if the premise continues to bother me, I suspect I’ll continue to enjoy this series. Sapphire is just too much fun to let go of.

MICHELLE: Oh man, that fight scene you speak of seems guaranteed to make steam come out of my ears. But still, this is a title I long wished for, despite not knowing very much about it aside from its premise. (I’ve been waiting for the release of volume two so I could read the whole series at once.) I suppose I will try to overlook this aspect, or at least consider it a sign of the times.

MJ: It really is worth making the attempt, and honestly I’m looking forward to volume two. I hope your experience is the same!

So what else have you been reading this week?

MICHELLE: Well…. it’s something I have to be in the mood for, but when I am, it can really hit the spot!

I am talking about Gosho Aoyama’s long-running shounen mystery, Case Closed. This series is pretty unique because its Shonen Sunday stylings—by which I mean largely episodic but with a story-spanning arc that will only really be resolved at the conclusion of the series—make it an ideal candidate for “popping in to see what’s going on.” The first volume I ever read of Case Closed was volume 25, then I went back and read some of the beginning, and then this week was inspired to check out the current happenings in volume 41.

Immediately, one can drop right in and figure out what’s going on. The basic premise of the series is that hotshot teen detective Jimmy Kudo had a run-in with some mysterious “men in black” and is now trapped in the body of a first grader who goes by the name Conan Edogawa. He’s not as able to help the bumbling local police force in this form, but with the help of some handy gadgets, he makes do.

As the volume begins, Conan’s mom (a famous actress) has been sent by her husband to help solve the case of a wealthy widower who’s been receiving threatening letters under his pillow. The culprit is revealed within a few chapters and, as is usual for Case Closed, used an incredibly elaborate murder method. Next, some dude is stabbed. After that, some dude is garroted in a Porsche. Conan always happens to be nearby and always manages to use an adult as mouthpiece for the solution he devised.

If you’re looking for a gritty, compelling murder mystery, you’re not going to find it here. Go read some Elizabeth George or something. Case Closed consistently treats death like a puzzle, and no one is ever too distraught about what has befallen their loved ones. It’s a game, and usually not one that the reader has any chance of figuring out on their own. But man, I really had fun with this volume! I liked that the cases were short and that the volume was nicely seasoned with some stalking courtesy of the “men in black.” Because the series is up to volume 73 in Japan and still ongoing, I don’t really believe anything big will happen with them soon, but that doesn’t prevent me from being really keen to read volume 42!

MJ: I’m not often a huge fan of truly episodic storytelling, but I admit this does sound kind of fun!

MICHELLE: Like I said, it’s all about being in the right mood for it. Really, it’s another manifestation of the “everything is simple” brain-balm effect that I enjoy from some shounen manga.

Anyhoo! Thus concludes my fluff. What else have you got?

MJ: My second selection can’t rightly be called “fluff,” though it does have a slow, gentle quality to it that is perhaps a completely different kind of brain balm. This week, I read the second volume of Kaoru Mori’s A Bride’s Story, beautifully produced and packaged in hardcover by Yen Press. I know I brought up Yen’s production values when I discussed the series’ first volume, but it just has to be mentioned again. This is a gorgeous book, and that alone gives it an air of gravity. Still, there is a lightheartedness here that makes this a really smooth read.

Things take a dramatic turn in this volume, when Amir’s clan returns again to take her back with them in order to remarry her into another tribe. It’s an ugly scene, and not lacking tragedy, but the real outcome of all of it is that Amir begins to view her very young husband as a man, which, interestingly, is more uncomfortable for her than it is for the reader.

Despite the characters’ jarring age difference, the author is clearly allowing them a romance, and is executing it so deftly, it actually doesn’t feel jarring at all. Amir’s new feelings for her husband are really… sweet. It’s quite lovely to watch their relationship grow, and I found that surprising.

The author also has a real gift for teaching us about the story’s setting without becoming didactic or distracting from the story in any way. There is a lovely section in this volume that is entirely about the importance of cloth and embroidery in the lives of the tribe’s women, and it may even be my favorite part of series so far.

Though we’re not allowed into the mind of any one character, there’s an intimacy with the tribe as a whole that reveals the author’s affection for them and helps to draw us in to their lives. Despite the distance in our POV, this is probably one of the warmest comics I’ve read, and more compelling in its quietness than I would ever expect.

Really, I love this series.

MICHELLE: That sounds so lovely. Maybe over Christmas break I’ll actually have the opportunity to read these two volumes, which have been sitting here beside me for ages now. And I definitely think it’s worth mentioning when a publisher has excellent production values; they should be praised for doing something well that other entities (*cough*Kodansha*cough*) can’t seem to manage.

MJ: It’s nice when a beautiful package like this is just as beautiful inside as well. A Bride’s Story was the perfect choice for this kind of treatment.

MICHELLE: Indeed!

Off the Shelf: Grown-up grumbling

by and 5 Comments

MICHELLE: This being a grown-up thing is for the birds; I take it back.

MJ: I am so there with you. Revolt against adulthood! Irresponsibility now!

MICHELLE: Clean none of the things!

MJ: Hallelujah!

MICHELLE: Oh, but if we abjure all responsibility, Off the Shelf won’t get done.

MJ: Oh. Crap.

MICHELLE: Maybe we can clean *one* thing.

MJ: *sigh* I guess so.

MICHELLE: You go first. I’ll provide moral support.

MJ: Hmph. Fine. Well, I finally got a chance to read the latest from CLAMP, volume one of Gate 7, out recently from Dark Horse.

CLAMP is, perhaps, an acquired taste. Most people I talk with either love them dearly or roll their eyes heavily at the mention of their name. I’d classify myself in the “love them” category, though I certainly have preferences among their titles. I love Tokyo Babylon more than X. I love xxxHolic more than Tsubasa: Reservoir Chronicle. I love Legal Drug, but I’m lukewarm on Kobato. Most of the series I like best share quite a bit in common, and fortunately for me, Gate 7 falls very much in line with the titles I most enjoy.

Chikahito is a high school student with a keen interest in Japanese history and folklore. On a solo trip to Kyoto—something he’s dreamed of since he was a child—a chance encounter with three supernaturally-talented personages brings him in touch with an aspect of ancient history he definitely wasn’t looking for. There’s a lot of plot here that I won’t get into, but suffice it to say that it’s all very, very…CLAMP.

The Kyoto group features a number of CLAMP staples, including two beautiful young men with an ambiguous relationship and an adorable, androgynous youth who can’t get enough of Chikahito, whom (s)he manipulates into becoming part of their daily lives. Chikahito is eerily similar to xxxHolic‘s Watanuki, in both looks and personality, but with Watanuki’s spastic tendencies drastically dialed down. It’s as though CLAMP was simply not done with Watanuki, and found themselves embracing the opportunity to recreate him in a new and improved form. As always, there is a lot of ominous-sounding language and pretty, pretty artwork.

Frankly, this works really well for me. I’m not inclined to object to being given too much of a good thing, nor am I repelled by familiarity in such a cozy form as this. For me, Gate 7 is the sequential art equivalent of a grilled cheese sandwich with a bowl of tomato soup—unsurprising but deeply comforting and delicious.

There are definitely weaknesses in this series’ first volume. Like most of CLAMP’s supernaturally-enhanced universes, this one requires quite a lot of exposition, and the pace and plot suffer for it, especially early on. But after all this time, CLAMP’s style is undeniably solid, and it’s hard not to feel that the story is in good hands, even in its uneven first chapters. I know my kind of CLAMP when I see it, and Gate 7 is unquestionably my kind of CLAMP.

MICHELLE: I’m happy that you liked it so much! I haven’t closely read other reviews, since I still need to read it myself, but I had the distinct impression that folks were unenthused by it. It’s good to know that’s not a universal reaction.

I must ask… if there’s a Watanuki stand-in, is there someone else who functions as his Doumeki?

MJ: No, at least not yet. Interestingly, Hana (the character who clings to him from the start), latches on to him because of their similarities, not their differences. So he doesn’t yet have someone who serves as his complement in that way. I’ll be interested to see if that remains the case.

I realize I’m an easy target for a series like this, since it caters to some of my particular tastes in CLAMP, but I’m sure I’m not alone!

So what have you been reading?

MICHELLE: A couple of very different things!

First up is the debut volume of Shugo Chara Chan!, a four-koma series starring the guardian characters from Shugo Chara!. I misspoke on a recent Pick of the Week, in which I stated that this manga is by Peach-Pit, because it actually isn’t. It turns out that various other shoujo mangaka at Kodansha have contributed to it, including Ema Toyama, whose I Am Here! has been mentioned in this space before.

Like Shugo Chara! before it, Shugo Chara Chan! is rated teen (13+), which is even more inexplicable in its case because all of the material in would be fit for—and perhaps best enjoyed by—a seven-year-old. Sample plots include:

* Su discovers a secret box containing photos of Amu’s crush.
* Amu threatens to boil the guardian eggs for oversleeping.
* Ran eats all the bread at the picnic.
* Miki makes an ice statue of Amu for her birthday and then it melts in gross fashion.

Hilarious, no? Lest it seem as if I read all of this with a curmudgeonly grimace plastered on my face, there actually were a couple of things that made me smile, but they’re completely random and may appeal to only me, like, “The guardian characters meet a cute slug.” It’s certainly not brilliant fare, but it was kind of fun and I will probably keep reading it.

One thing I did want to point out is that while the main body of the volume is mostly immune from Kodansha’s questionable editing practices, the notes in the back of the book are oddly messed up. There are loads of missing letters, resulting in sentences like:

“The person in the last panel is AI O STA UST, also known simply as AI O. He is the vocalist for the rock band “B EAK .” Gee, how helpful!

MJ: My. Well. I admit I’ve been iffy on whether to spend my money on this series. I’m a huge fan of Shugo Chara! as you know, but I wasn’t sure that a 4-koma for little girls would resonate with me as well as a series for little girls apparently still does.

MICHELLE: Yeah, if you’ve got a choice between spending your money on this short little volume or, say, picking up the second volume of Princess Knight, I’d say the choice is clear.

What else have you been reading?

MJ: My second read this week was volume one of Rei Toma’s Dawn of the Arcana, the latest from Viz’s Shojo Beat imprint.

As the volume opens, red-headed Princess Nakaba is being introduced to the kingdom of her new husband, Prince Caesar, an arrogant, possessive ass, to whom she’s been married in order to maintain the tense peace between their societies. Always devalued, even amongst her own, for the color of her hair, Nakaba is pretty much resigned to an early death, finding comfort only in the company of her longtime servant, Loki, who was born to a race even more reviled than redheads. Is the devoted Loki her one true love, or can she find happiness with her hard-hearted prince?

Like Gate 7, much of this will sound familiar to even occasional fans of shoujo manga. The setup is so standard, in fact, that there is hardly any question at all that we’ll soon discover the soft side of Nakaba’s husband, who is almost undoubtedly her ultimately destined love interest. And did I mention that she’s got a secret, supernatural power? Seriously. On the surface, this thing reads like paint-by-numbers pseudo-romantic shoujo, along the lines of dubious current titles like Stepping on Roses. Fortunately, there’s some real freshness to the series that isn’t immediately apparent from a snarky plot summary.

Though the first volume’s focus on Nakaba’s “power” is not the author’s strongest choice, there are some nuances to the characterizations (particularly that of asshole prince Caesar) that keep things from sinking into pure cliché. Princess Nakaba is fearless and coldly stoic, without an ounce of typical shoujo optimism. And the political aspects of the story offer the potential for some heroine bad-assery and possibly civil war, which is always welcome in my book.

Despite its surface familiarity, there’s a real spark of life in Dawn of the Arcana. I’m looking forward to more!

MICHELLE: I always love political scheming in a fantasy series, so I look forward to seeing what Toma is able to make of it. Too, I especially look forward to a “coldly stoic” heroine. There aren’t enough of those!

MJ: Agreed! We see both spunky and ditzy in many variations, but “stoic” is rare indeed!

So what else have you got for us?

MICHELLE: An odd yet interesting one shot from One Peace Books! Breathe Deeply, by husband-and-wife manga team Yamaaki Doton, promises on its back cover to “force you to forget what you know about manga.” That’s not exactly true for the widely read manga fan, but the story does have a general-audience appeal and could help dispel the notion that manga is all big eyes and spiky hair.

Yuko Kazama is a very sick girl with two boys in love with her. To one, Sei, she has confided that, when her health fails, she doesn’t want a transplant (believing it would cause suffering to the donor) and would prefer to simply disappear. To the other, Oishi, she has revealed her desire to live and her fear that Sei will think poorly of her if she changes her mind. When Yuko passes away, Sei insures that her wishes are carried out, only to have Oishi blame him for her death.

Fast forward fifteen years, and now both men are scientists with different approaches to curing heart ailments. Sei has developed a synthetic gel that mimics heart functions while Oishi has made stem-cell discoveries. There is much talk about the validity of each approach (ethics versus progress), and quite a few shady hospital administrators who are depicted as fudging the line between “brain dead” and “could recover” in an effort to harvest organs for donation. In addition, both men have their moment as the genius in the spotlight, and we see how quickly such status can be lost due to personal conflicts.

Because of the pace of the story and the obsessive focus of the leads, it’s a bit difficult to get to know the characters and as a result the story is less emotionally affecting than it might otherwise be. Revelations that could be shocking are taken in stride, and readers never really feel the anguish in certain key moments. It’s like the story’s being told from a distance.

I do have to mention an irksome flaw in the script: it’s full of run-on sentences. When a speech bubble contains a complete thought, it’s not really noticeable that it’s lacking a period. But when two sentences collide without warning the results can be jarring. Here’s an example:

True success relies not only on intelligence, but on our humanity as well we can expect great things from you, Takano.

Ultimately, Breathe Deeply is likely to leave an impression, but not liable to leave you sniffling.

MJ: The run-on sentences sound truly irksome, but I admit the story sounds interesting. I enjoyed One Peace Books’ earlier release, Tenken, and it’s nice to see them putting out more manga, even if it’s not quite the game-changing release the back cover promises.

MICHELLE: I’d be curious to see what you’d think of it. I’m sure you could explain its appeal more eloquently than I can. :)

Tales of the Gilbreth Family

by

Mention the title Cheaper by the Dozen and most folks know it refers to a story about a family with twelve children. Before there were completely unrelated movies starring Steve Martin, however, there was the original book about the unique Gilbreth family, written by two of the children. This was followed by Belles on Their Toes, set after the death of the family patriarch, and later by several others, including Time Out for Happiness, a more serious family biography, and Rings Around Us, in which Ernestine writes about her own married life. Three out of the four are quite charming, and those aren’t bad odds!

Cheaper by the Dozen by Frank B. Gilbreth, Jr. and Ernestine Gilbreth Carey
When I embarked upon reading Cheaper by the Dozen, I figured I was in for a warm-hearted memoir about the clever antics of twelve mischievous kids living in the early 20th century. And I did get that. There are stories here about playing pranks on the psychologist evaluating their intelligence and about young boys saying impertinent things to guests at dinner, about rousting a peeping tom from a tree and manipulating the family council system in order to get a dog.

What I didn’t anticipate, however, was that the real purpose of the book is to lovingly depict the Gilbreth parents, Frank and Lillian. I am a sucker for awesome dads, and have loved quite a few, but Mr. Gilbreth might just take the cake. He’s voluble, loud, and charming, with a zest for life and learning that leads him to devote his career to developing time-saving measures for various industries. He teaches his kids all manner of things, from languages to Morse code to nifty multiplication tricks, and at first it seems like he’s doing this just to satisfy his own curiosity—and, yes, that’s part of it—but in reality, it’s so that they’ll be able to get along without him and not be a burden to their mother when he is gone. For, you see, he hasn’t told them that he’s got a bad heart.

There is much to smile and laugh at in this book, but the end had me sobbing. In a good way. In the way that makes you want to read the book again so that you can love it even more intensely. I feel like fans of this book could meet each other and exchange a single word—mumblety-peg—and understand each other perfectly.

Belles on Their Toes by Frank B. Gilbreth, Jr. and Ernestine Gilbreth Carey
Where Cheaper by the Dozen serves as loving tribute to Frank B. Gilbreth, Sr., Belles on Their Toes is “primarily the story of Mother.” Overshadowed somewhat by her charismatic husband in the previous book, Lillian shines here as a strong and capable mother defying social conventions and attitudes by taking up the reins of her husband’s business in order to secure sufficient income to not only keep the family together but send each child to college, as Frank wanted. There’s a marvelous passage early on that explains how Lillian overcame her timidity that left me sniffling.

There was a time when Mother wept easily, when she was afraid of walking alone at night, when a lightning storm would send her shuddering into a dark closet.

All that ended the day Dad died. It ended because it had to end. It ended because of the realization that what she really feared was that something would separate them.

Well, what she feared had happened, and tears would not wash out a word of it. So she gave his speech in London and presided for him in Prague. And she was not afraid any more.

I get a bit verklempt now, just typing that.

Belles on Their Toes also focuses a lot on the oldest daughters, as they develop into women and eventually bring beaus home to meet the family. I’m particularly fond of sensible Martha, who has no idea she’s become shapely and sought-after and devotes herself to principles of frugality. That’s not to say that pranks and mischief are entirely absent, however! Near the end, the pace of the story picks up a great deal, skipping over some of the middle children to cover the high school graduation of the youngest (Jane), followed by a family reunion in which three of Lillian’s grandchildren are christened in the same church as their parents.

It’s a very satisfying conclusion and most people would probably feel content to stop here. With a little research and a couple of interlibrary loans, however, I’ve unearthed a couple of other books about the family that are less well known.

Time Out for Happiness by Frank B. Gilbreth, Jr.
Whereas the first two books “stressed the comical aspects of raising a big family by Motion Study methods,” Time Out for Happiness puts the emphasis on Frank and Lillian’s work in the field of “scientific management.” You might think this sounds dull, but actually there are enough amusing anecdotes and big personalities (like “plump and boisterous” Frank) to make for quite an absorbing read.

Time Out for Happiness also dwells more on the family backgrounds for Frank and Lillian, as well as the early days of their courtship and marriage. Some of the material is familiar, but most of it is new. (Interestingly, a few small details are different here, like which child made what remark or what handyman Tom named his cats. Were those embellished the first time around?) I welcomed the insight into what Frank and Lillian were hoping to accomplish with Motion Study, especially the fact that Lillian was very much an equal partner.

Indeed, while gregarious Frank initially captures one’s heart, by the end one realizes how truly remarkable Lillie was. For a woman to get a Master’s degree in 1902 (followed by a PhD in 1914) was no small feat, and she was the first woman to receive honorary membership in several influential engineering societies. After Frank’s death in 1924, Lillie continued to espouse the Gilbreth method for over 40 years, eventually earning the public recognition of their endeavors that she’d long been seeking.

The one drawback to reading this book is that it makes one feel a serious underachiever. There were so many opportunities to think and do new things in the early 20th century that I don’t know now whether such chances simply don’t exist anymore or if I am just not personally bright enough to see them.

At any rate, this may be a more factual account of the family history, but it’s no less entertaining.

Rings Around Us by Ernestine Gilbreth Carey
Out of the four books on the Gilbreth family that I read, I liked Rings Around Us—the story of Ernestine’s married life—the least. I found it to be lacking the warmth of the earlier books, and I’m not sure whether to attribute that to the lack of Lillian or to the lack of Frank, Jr. as writing partner. Probably it’s a combination of both.

In September 1929, when she is a 21-year-old working girl in New York City, Ernestine Gilbreth meets Charles Carey. They hit it off immediately and are married in 1930. The book recounts their many apartments in the city, the many nurses they hire to take care of their daughter while Ernestine works, and the eventual decision to move to Long Island, where the kids have plenty of friends and room to roam and where the Carey parents experience the joy of tending a garden and the sorrows of home maintenance.

The problem is… Charles (called “Chick” by Ernestine) is a product of his time, in that he is a sexist git. He frequently makes comments about women and though he occasionally condescends to help Ernestine with meals and dishes, his attitudes eventually begin to wear off on his son. Ernestine chafes at his notions, but doesn’t get her dander up as much as I would’ve liked. But no matter, because she herself is sizeist. Many, many times she describes a person by their weight, be it the nurse whose bosoms she compares to watermelons or the dance teacher her daughter adores, “all two hundred pounds of her.” This attitude, too, wears off on the kids, as a later chapter dwells upon a game they invent wherein you score points for spotting fat people on the beach. The game is called “Whale.”

Nice. Really nice. Thanks for leaving me with a sour taste in my mouth, Ernestine.

The Documents in the Case by Dorothy L. Sayers (with Robert Eustace)

by

From the back cover:
The grotesquely grinning corpse in the Devonshire shack was of a man who had died horribly—with a dish of mushrooms at his side. His body contained enough death-dealing muscarine to kill thirty people. Why would an expert on fungi feast on a large quantity of this particularly poisonous species? A clue to the brilliant murderer, who had baffled the best minds in London, was hidden in a series of letters and documents that no one seemed to care about, except the dead man’s son.

Review:
The Documents in the Case is the one full-length mystery novel penned by Dorothy L. Sayers that doesn’t star Lord Peter Wimsey. Before I’d read it, I knew of it merely as “the one with the mushrooms.” Now I’ll know it as “the really boring one with the mushrooms.”

For the most part, this is an epistolary novel in which letters written by the residents of a particular Bayswater address depict the state of family life before the death of patriarch and mushroom enthusiast, George Harrison (yes, really). Sayers expertly and efficiently depicts the character of each correspondent through their writing, including George himself; the young, flighty, and discontented lady of the house (Margaret); her deluded-to-the-point-of-insanity companion (Miss Milsom); the dashing artist tenant (Harwood Lathom); the deep-thought-having novelist tenant (John Munting); and George’s son from an earlier marriage (Paul), who has gathered the documents together in a bid to prove that his father was too much of an expert on mushrooms to have died from accidentally ingesting a poisonous variety.

Some of this is fairly interesting, some is irritating—seriously, although one can sympathize with Margaret for her repressive husband, she is still frequently too insincere and manipulative to bear—and some is downright tedious. Munting’s letters to his fiancée often lapse into pseudo-philosophizing, but the cake is taken by an extremely long and self-indulgent scene near the end in which Sayers uses a bunch of random professorial types as mouthpieces through which to espouse some theories on the origins of life. If I had a paper copy instead of an audiobook I would quote some of the dialogue from this section, but it will have to suffice it to say that my impatience caused me to hurl profanities at my innocent cassette player.

Eventually, this rambling conversation produces the means of proving the death was no accident, and then there’s a very brief postscript about how the culprit was hanged. The end.

Ultimately, I conclude that this one is only for completists. Completists, I wish I could say this was better, but perhaps it will be some small comfort to know that it is at least quite short.

Pick of the Week: Balanced Diet

by , , , and 8 Comments

We’ve got a hefty haul at Midtown Comics this week, ranging from classic staples to contemporary 4-koma. Check out the Battle Robot’s picks below!

MJ: Heavy shipping weeks like this are nearly as tough for me as the bleak ones. From such a bounty of manga, I hardly know what to choose. As a bit of a completist, though, I admit I’m drawn to big finishes, and we have a pretty spectacular one this week. I’m speaking, of course, of the final volume of Osamu Tezuka’s Black Jack, arriving at Midtown Comics this week from Vertical. Based on the Akita Deluxe Edition mapped out by Tezuka before his death, along with three additional stories in the hardcover special editions of the first three volumes, Vertical’s collection is one of the most comprehensive in any language to-date. Above all, though, Black Jack is just a really great comic, and it’s pretty thrilling to have so much of it available in English, produced with the kind of loving care that Vertical gives to all its licenses. This final volume also features an appendix at the back, containing the original publication dates of the stories contained in Vertical’s editions, as well as a chronological listing of every story in the series, including those that were “sealed” by the author. For any fan of the series, this volume is a must-buy.

DAVID: I can’t say that this particular arc of Eiichiro Oda’s One Piece has been my very favorite ever, but a middling patch of One Piece is still superior to the vast majority of comics. I suspect that the 59th volume will be one of those heartbreakers that Oda can pull off when one least expects it. And I’m sure there will be some callback to it about six or seven volumes down the road that will break my heart all over again. For those who aren’t up to date, Luffy has been fighting like a demon to save his brother from execution, and, being Luffy, he’s ignited a huge war between the navy and pretty much every pirate in the world without even trying. We’re nearing the conclusion of that and – hopefully – the return of the regular supporting cast. I miss the Straw Hats something awful.

KATE: Though I heartily second MJ’s choice of Black Jack, my pick goes to Dawn of the Arcana, a new Shojo Beat title. Most early reviews were tepid, with critics grousing about the pace, the poor integration of the fantasy elements, or the author’s over-reliance on types (e.g. Brash Jerk with Heart of Gold, Fawning Admirer Who Would Throw Himself in Front of a Bus for You). Those are fair criticisms of Arcana, but I liked it nonetheless, as it features the kind of steely, smart heroine who can think her way out of a tough situation, rather than relying on her fists or her feminine wiles. I also happened to like the story’s brisk tempo; the author allows important information to be revealed through the natural unfolding of the story, rather than assaulting the reader with lengthy monologues about the setting or the characters’ histories.

MICHELLE: My pick this week goes to the seventeenth and penultimate volume of Bisco Hatori’s Ouran High School Host Club. I’m not blind to the flaws of this series—I groan often at the episodic hijinks—but I still nurture very fond feelings for it, and each volume usually contains just enough romantic progress from the two leads to leave me satisfied as I begin the long wait for the next installment. I can only assume that as the series draws nearer to its conclusion we will see less comedy and more romance, which will make me happy indeed. I love Haruhi and I really love Tamaki, so I want to see those kids work it out already!

SEAN: And I will likewise pick a final volume, though this series does not quite have the blogger cred that Black Jack does. But K-On! has been improving volume by volume, and in the 4th and final volume (for now) of the cast’s exploits, we see the cast trying to deal with passing their exams, getting into the right colleges, playing their final school concert, and dealing with the worst horror of all – the school play! There’s still plenty of laughs here (I love the chapter where everyone thinks Ritsu has a secret boyfriend), but the emphasis is on adorable and heartwarming, with a few tears sprinkled throughout. It probably won’t change anyone’s mind if they hadn’t liked what came before, but for those who did, this is the best of the four volumes. See you in University!

Readers, what looks good to you this week?

Bookshelf Briefs 12/5/11

by , and 2 Comments

This week, MJ, Michelle, & Kate look at new releases from Viz Media, Digital Manga Publishing, and Vertical, Inc.

About Love | By Narise Konohara and Tomo Ootake | Digital Manga Publishing – The unconventional cover on this one led me to expect a quirky story, but About Love is calm and melancholy as it depicts the friendship and romance between Asaka, a wedding planner, and Sasagawa, one of his first clients. What I found striking about this story was the lack of optimism from its protagonists—Sasagawa is convinced that Asaka only wants to be friends while Asaka is in love but has no intentions of ever revealing the relationship to his friends and family. Misunderstandings and work obligations conspire to keep the two apart and… I don’t know… usually one assumes a BL couple will ride happily off into the sunset, but I honestly am not sure that’ll happen here. Which is probably a good thing, right? Bucking convention and all that. In any case, it was an interesting read and I recommend it if you’re in the mood for something different. – Michelle Smith

Bakuman, Vol. 8 | By Tsugumi Ohba and Takeshi Obata | Viz Media – Bakuman‘s romantic entanglements have never been its strength, and unfortunately this volume is saddled with more than its fair share. Even more unfortunate is the authors’ portrayal of young novelist Aiko Iwase, a brilliant former schoolmate of our heroes, whose ambition is apparently driven entirely by romantic feelings for Takagi, but is presented without any of the genuine insight or sympathy granted to similarly love-obsessed artist Nakai. And while it’s admittedly pretty satisfying to see Nakai finally get smacked in the face (twice!) later in this volume, it’s even more of a relief to see Ohba and Obata turn the plot back to the craft and politics of the manga publishing biz, which is what really makes this series work. I’ll cross my fingers in hopes that we see more of this in the next volume. Still cautiously recommended. – MJ

Black Jack, Vol. 17 | By Osamu Tezuka | Vertical, Inc. – The final installment of Black Jack includes a mixture of good, great, and outstanding stories, the best of which feature Pinoko. I’d be the first to admit that Pinoko is my least favorite character of the series, as she’s always struck me as a nasty caricature of the Japanese housewife. In volume 17, however, Pinoko is forced to confront her liminal status as an adult — first when Black Jack tries to give her to a childless couple, then when her sister enters Black Jack’s life again. Both stories are an appealing mixture of humor, suspense, and pathos that cast this problematic character in a more sympathetic light; we feel Pinoko’s pain as she struggles to reconcile her eternally youthful appearance with her more mature feelings for Black Jack. As an added bonus, Tezuka stuffs these last stories with cameos from Phoenix, Ode to Kirihito, and Swallowing the Earth (to name a few), a lovely reward for his most devoted fans. – Katherine Dacey

I’ll Give It My All… Tomorrow, Vol. 4 | By Shunju Aono | Viz Media – After the crushing resignation of the editor who believed in him, Shizuo’s new editor—the embittered, no-nonsense daughter of a failed novelist—cuts him no slack, describing his work as self-indulgent justification for his own lifestyle. Surprisingly, Shizuo actually seems to listen, at least by the end of the volume, providing hope that the promised “Tomorrow” might actually be at hand. I’ve become frustrated with this series from time-to-time, as it vacillates between latching on to a real narrative and settling into the perpetual sitcom feel so common in comedic manga. But I do have some hope of it finally leaning towards the former, especially after this very strong volume. As usual, the series’ side characters are more interesting than its protagonist, but finally it seems like that protagonist might actually care. It’s fascinating to watch this series evolve in a way not dissimilar to our hero’s own journey, which may simply prove how brilliant it’s been from the start. Recommended. – MJ

The Innocent | By Avi Arad, Junichi Fujisaku, and Yasung Ko | Yen Press – I was initially baffled by the presence of quotes from Stan Lee and Sam Raimi on the back cover of The Innocent until a little research revealed that Arad is actually some kind of Marvel bigwig. Apparently, this is why he has the likes of Nicolas Cage proclaiming that his work “shows like an esoteric haiku by way of anime and Lichtenstein and achieves comic book poetry.” To which I say, “Um, what?” And also, “Were we reading the same book?” I found The Innocent to be uninspired, with unsympathetic characters, incredibly paper-thin villains, and incoherent action scenes. It’s possible that this could have been a cool story—it does feature a wrongly executed guy who comes back to life with a body made of ash, which he can manipulate in various nifty ways—but the flaws listed above prevented me from giving a hoot about any of it. – Michelle Smith

Real, Vol. 10 | By Takehiko Inoue | Viz Media – It’s been a long wait for the tenth volume of Real, but I am happy to report that the wait is well worthwhile! This volume maintains the sort of shounen-esque feel of volume nine, with a mixture of grand declarations, gritty determination, and talk of achieving one’s dreams, but without losing any of the realism that makes this series so compelling. It’s gratifying, really, to see a character like Takahashi discover a glimmer of aspiration at long last, and it’s surprising how possible Noyima’s seemingly unrealistic dream suddenly appears, now that his moment of trial has arrived. Inoue’s craftsmanship is as stunning as ever, and I’m constantly impressed by his ability to shift focus from character to character without ever losing the tension in even one of his delicately-overlapping storylines. Heavy as it can be, this series is always a pleasure to read, which is a true feat for any writer. It seems clear that this series will always be worth waiting for. Highly recommended. – MJ

Let’s Get Visual: The Jibblies

by

MICHELLE: So, in our last installment of Let’s Get Visual we celebrated the pretty, so it seems only fitting that this time we devote our attentions to images that make us shudder with a feeling I like to call “the jibblies.” Just like beauty, creepy is a subjective thing, so we’ve each chosen a variety of images that get our personal hackles rising.

MJ, you want to go first this time?

MJ: Sure!

So, as I was perusing my manga collection for things that creep me out, it became increasingly clear to me that I’m very simple when it comes to what scares me. All it takes to really get to me is a single disturbing image–especially one that distorts something human into something sinister. I’m apparently not scared of monsters so much as I am of monsters in human clothing.

My first example comes from Setona Mizushiro’s After School Nightmare. In this series, a group of teenagers is regularly drawn into a shared dreamworld in which they each appear as physical manifestations of their own worst fears. Some of these are visually more disturbing than others. The series’ main character, Ichijo, for instance, most fears his own confusion about gender, so his skirt-wearing dream self is really horrifying only to him. Some of the other students, however, wear their fears in a much more visually distorted manner. This short spread features two of those students.

After School Nightmare, Vol. 1 (Go! Comi)

First, you’ll see a student who appears only as an arm and hand, twisting itself around Ichijo. Second, a girl appears with giant cavities replacing her face and chest. While the second of these has the most stunning, immediate affect on my psyche, the first creeps up on me as I try to move away from the page. Both images stick with me long after I’ve put the book down, and this seems to be the real key to scaring the bejeezus out of me. If I can’t get the image out of my mind, it easily haunts me for days. That’s the power of a single, shocking image.

MICHELLE: My first thought upon hearing of your aversion to “a single disturbing image” is that you shouldn’t read Junji Ito’s Uzumaki, followed by the thought that you should read it.

My reaction to the image above differs from yours, though, in that while these images certainly provoke in me an “ew” reaction, they aren’t the type that haunt me. I definitely think that the slinky arm creature is the more creepy in the image you displayed. For me, it’s because the gaping images of emptiness are immediately recognizable as symbols for what that character is feeling, but what on earth is causing that other student to appear like a grasping, creeping arm?! I feel like their circumstances in life might ultimately be the more disturbing! (This comes from someone who’s read only one volume of After School Nightmare, so I don’t know if this turns out to be the case.)

MJ: I think part of what makes the gaping holes in the second student so horrifying for me, is that (for whatever reason) I’m strongly affected by a lack of face. I have the same reaction to images of people with blank faces. It creeps the hell out of me when I can’t assess a person’s feelings/personality from their expression. It feels very threatening to me.

Perhaps it’s further evidence of how much a face means to me, actually, that both of my follow-up images are pretty much face-only. First, from CLAMP’s Tokyo Babylon, we have the face of a dead child who pleads with her mother to avenge her, and secondly, from Jun Mochizuki’s Pandora Hearts, the face of a girl that reveals itself to be a monster underneath.

Tokyo Babylon, Vol. 4 (TOKYOPOP)

Pandora Hearts, Vol. 1 (Yen Press)

I actually find both of these to be creepier than the images from After School Nightmare, though they are much simpler. Something they have in common is that they are presented against a stark, black background, giving the distorted expressions full focus. After that, though, they are nearly opposites of each other. The face of the girl in Tokyo Babylon is all too real, distorted by the power of raw emotion, while the character in Pandora Hearts is revealed to have no emotion at all, or at least none that matched what was on her false human face. Yet in the end, which is more monstrous?

MICHELLE: It’s interesting how much the things that creep us out reveal about us, isn’t it? I’d wager you get the same threatening feeling from the girl who is revealed to be a monster underneath as you do the girl with no face at all. People pretending to be what they’re not, hiding their real selves, etc. That’s definitely something all of us have experienced at one time or another.

Getting back to actual attempts at visual analysis, those deep black backgrounds really do focus the reader’s eye on what the mangaka wants them to see. It’s as if they’re saying, “I don’t want you to be distracted by anything else.”

MJ: Your analysis of me is spot-on, that’s for sure!

And yes, I think the black backgrounds achieve exactly that, while also evoking our natural fear of the dark, or what we can’t see. It’s a powerful tool for both showing us something and not showing us something, if that makes sense.

MICHELLE: It definitely does.

Now I’m reflecting on what the images I’ve chosen say about me. There’s hardly a face among them, for one thing, because I am less creeped out by shocking images than I am by imagining an experience, specifically an experience during which one is forced to endure something horrible for a really, really long period of time with no means of escape. Ugh, just thinking about the short story my images come from—”The Enigma of Amigara Fault” by Junji Ito—has given me the jibblies while typing this paragraph!

Gyo, Volume 2, “The Enigma of Amigara Fault” (VIZ Media)

Page 178

Page 185

Page 198

Page 203

Page 204

I’ve chosen this particular sequence of images from this short story because they illustrate the entire plot without me needing to introduce it beforehand. By now you probably don’t need me to explain that when the TV news reports on a mountainside full of people-shaped holes revealed by a recent earthquake, people flock to the site and can’t be dissuaded from climbing into their personal holes, where long, icky agony awaits them. At first the site seems innocent enough, if a bit strange, but soon people are walking into holes, having nightmares about what happens to you in a hole, and eventually discovering the exit and…. Holy crap, it’s terrifying. This is the kind of thing that will haunt me for ages.

I’m honestly trying to analyze Ito’s artistic techniques dispassionately here, but I find that the disturbing power of the images is so great that it is affecting my ability to reason even now!

MJ: Hmmm, I’m wondering if what it’s saying is that while I’m terrified of people betraying me, you’re terrified of your environment betraying you. Or something like that.

In any case, these panels are undeniably creepy. Even if they creep me out in a less personal way, I can certainly see what’s giving you the jibblies! Interestingly, we again see the human form distorted, though in this case it’s happening sort of *to* the character we’re relating to rather than in front of him. (Maybe I’m afraid of the people I trust being compromised, and you’re afraid of yourself being compromised?)

This has a Twilight Zone feel to me, where some unexplained supernatural phenomenon is turning the lives of ordinary people into a nightmare. The artist does a great job of evoking the real terror of what’s happening, too. The texture of the stone walls around the man gives the images a three-dimensional look that makes it feel more real than a lot of what we see in manga. It’s the only thing that has that kind of thick texture, too, so it really stands out.

MICHELLE: More like I’m terrified of taking a step that can’t be undone and ending up in eternal torment because of it!

And yes, now that I’ve regained my senses, I agree that it’s the realistic three-dimensional detail that really makes it so disturbing. The details of the setting itself establish it firmly in the here and now, and then we’re shown that within the here and now exists something completely alien and unexplainable! Regarding the texture of the stone walls… it’s that bit of dialogue about how they’re carved to prevent backtracking that really gets to me. It’s mute, immobile stone, and it’s going to be your tormentor for the next several months, slowly inflicting more gruesome horrors upon you than something living could ever do. Uh-oh… jibblies.

MJ: There, there!

MICHELLE: Thanks. I also really love the bottom left panel on page 185, when you see the outside world from inside the tunnel. Interestingly, this is an angle from which the guy who just entered the hole could never have seen the characters. He’s got his back turned to this world, and is resolutely leaving it behind. And, too, I love the “less is more” approach here. We don’t see the distorted figure actually emerge from the mountain and thrash around terrorizing people. One glimpse is enough to confirm what has happened. It’s almost kind of elegant in its structure.

MJ: Yeah, I agree, the threat of what is about to happen is actually scarier by itself than it might be if we actually saw it happen. Or at least it’s creepier that way.

MICHELLE: Well, I fear this column has actually been more about us than the art, but it’s been the art that made us feel that way, and that’s something, isn’t it?

MJ: It is!

MICHELLE: So, that’s it for us this month. What gives you the jibblies?

A Traitor to Memory by Elizabeth George

by

Book description:
When Eugenie Davies is killed by a driver on a quiet London street, her death is clearly no accident. Someone struck her with a car and then deliberately ran over her body before driving off, leaving nothing behind but questions.

What brought Eugenie Davies to London on a rainy autumn night? Why was she carrying the name of the man who found her body? Who among the many acquaintances in her complicated and tragic life could have wanted her dead? And could her murder have some connection to a twenty-eight-year-old musical wunderkind, a virtuoso violinist who several months earlier suddenly and inexplicably lost the ability to play a single note?

For Detective Inspector Thomas Lynley, whose own domestic life is about to change radically, these questions are only the first in an investigation that leads him to walk a fine line between personal loyalty and professional honor.

Review:
I finished A Traitor to Memory last night and have spent most of today trying to find the words to explain why I didn’t like it very much. The one thing that keeps coming back to me is that it just felt somehow empty, especially in comparison with the previous few books in the series.

It’s November now, a couple of months since Barbara got demoted and she and Lynley spent an entire book at odds with each other. While it’s certainly a relief that they are getting along well again, it is fairly strange that neither ever reflects upon their period of estrangement. In fact, there is exceedingly little from Barbara’s point of view and no appearances by her charming neighbors. Compensating slightly for this omission, however, are some segments from Winston Nkata’s perspective.

Anyway, the case in question involves a series of hit-and-run accidents that are connected to the murder of a child that Superintendent Webberly (Lynley’s boss) investigated twenty years ago. Interspersed with the feats of detection are journal entries by a violin prodigy named Gideon Davies who is in therapy to discover the reason for his abrupt inability to play his instrument. As with many books in this series, one must have patience and wait for the a-ha moment that connects seemingly disparate elements, and there are quite a few of those in this novel. “Ohhhh,” one says, “so that’s who he is!”

Unfortunately, I found the final solution… inelegant. Oh, I can devise arguments in its favor, namely that in the real world, detectives frequently do not learn why a given suspect did something, only that they did. But readers are spoiled and we are accustomed to learning such details. The evidence is sufficient, but without that extra level of confirmation it’s not quite as satisfying. Also, there’s a shock ending that inspires conflicting reactions. On one hand, it’s a neat twist, but on the other, I highly doubt that George will ever get around to revealing what actually happened, especially as the next book in the series (A Place of Hiding) is about Simon and Deborah St. James and not anyone inclined to comment on the details of this case.

Ultimately, this was a long, slightly tedious, and rather disappointing installment in the Lynley-Havers series. Not that this will in any way dissuade me from continuing on, however!

Pick of the Week: Negima & more

by , , and 6 Comments

A slow week at Midtown Comics can be painful, but the Battle Robot finds a few books to love, both on and off the list.

SEAN: I’ve become accustomed to the fact that both titles I’d like to talk about this week fall into the category of ‘will never, ever gain new readers no matter how much I review them’. With that in mind, this has been one of the most enjoyable arcs of Negima! to date, and this volume, although technically a breather, advances a lot of plot points. The four sports girls each get some lovely character moments, particularly Yuna and Akira, and we get some nice (if tear-jerking) backstory. We also get a good look at Fate’s group, showing that even thought they may be the villains that doesn’t mean that they’re irredeemable or acting out of evil. (cough) Well, except Tsukuyomi. Who reaches new levels of terrifying. For Negima fans, it’s a must buy. For casual readers, go read the 2nd omnibus instead.

MJ: This week’s meager offering is nearly a bust for me, but fortunately my favorite talking cactus saves the day! Things take a fairly dramatic turn, romance-wise, in volume 9 of SangEun Lee’s 13th Boy, and I have to admit it’s all going my way, at least for now. I can’t think of a girls’ comic I’ve enjoyed more in the past year or so than 13th Boy, and I’m already mourning the fact that it’s only going to last me through July of next year. Beatrice now, Beatrice forever!

KATE: This week’s manga offerings are mighty slim, so my choice is the third issue of Dorothy and The Wizard in Oz (Marvel). As a child, I only read the first Oz novel and, truth be told, found it kind of ponderous. In Skottie Young and Erik Shanower’s capable hands, however, all of Baum’s Oz novels have been a genuine pleasure to read: they’re beautifully and playfully illustrated, bringing Baum’s weirdest creations to vivid life. Dorothy and the Wizard is the fourth novel in the original series, reuniting Dorothy with the balloonist-cum-wizard from the first book. The episodic plot is perfectly suited to a serial medium like comics, offering readers enough variation to keep them interested while allowing each of the supporting characters a memorable turn in the spotlight. A great choice for younger readers.

MICHELLE: Oh dear, there is indeed a paucity of choices from Midtown Comics this week. Since MJhas so ably recommended volume nine of 13th Boy, I shall go off-list and pick something that should be on this list but isn’t, and that’s volume one of Shugo Chara-chan!, due out this week from Kodansha Comics. Honestly, I have no idea whether this will actually be good, but I’ve been looking forward to checking it out for a while. It’s by Peach-Pit, the same team who wrote Shugo Chara! itself, and is essentially a 4-koma comic strip starring the “guardian characters” from the main series. It’s possible that it will be painfully unfunny, or perhaps only suited for young audiences, but I am hoping for the best!

Readers, what looks good to you?

Bookshelf Briefs 11/28/11

by , , , and 8 Comments

This week, MJ, David, Kate, Michelle, and Sean take a look at Yen Press, Viz Media, Kodansha Comics, East Press, and Digital Manga Publishing.

13th Boy, Vol. 9 | By SangEun Lee | Yen Press – I know they say “you can’t always get what you want” and all that, but what I’ve learned from SangEun Lee’s 13th Boy, is that sometimes you really can and it’s freaking fantastic. After eight terrific volumes, 13th Boy is giving me exactly what I’ve most wished for, and even if it’s a temporary situation (which I suspect it is), I can’t deny that I’m walking on air. Fortunately, this bit of wish-fulfillment is written with the same humor and charm as everything else in this series, so it isn’t only what we want, but also just what the narrative needs. Isn’t it nice when these things work out? 13th Boy may not be the flashiest series in Yen’s current lineup, but it’s certainly one of the best. Still recommended. – MJ

Cross Game, Vol. 5 | By Mitsuru Adachi | Viz Media – Adachi introduces a surprisingly contrived plot twist in this generally grounded series, and I’m not quite sure what I think of it. A new character moves into the neighborhood, and she causes a number of ripples in the regular cast, though she has no idea she’s doing it. Her impact is the result of something that’s entirely beyond her control, which is unlike what I’ve come to expect from the very character-driven Cross Game. Adachi’s enormous talent makes the ripples much more moving than they might be otherwise, and he seems to be building up the new character as an individual rather than as just a catalyst. Still, I don’t really know what to make of Adachi’s decision to introduce her in the first place. It seems like a narrative shortcut or a stunt, and, no matter how well executed it might be, I feel like the technique is almost a little bit beneath Adachi. – David Welsh

Dawn of the Arcana, Vol. 1 | By Rei Toma | Viz Media -The notion of a feisty young woman who must choose between two boys – one aloof, one fawning – is possibly one of the least fresh in the wide world of romantic fiction. That’s the main attraction of Dawn of the Arcana, at least as far as the first volume goes, so the reader is left to evaluate it based on execution. Toma has a lot of talent on her side. Her art is stylish, and her storytelling is sincere. But her ability to create characters that engage the reader quickly isn’t really in place. Nakaba, a psychic princess who’s forced into marriage, has some intriguing qualities that don’t have much to do with her effectiveness as the hinge of a love triangle. As a result, I ended up caring least about what Toma spent the largest amount of time examining. If she rounds out the story with more palace intrigue and dark destiny, the series could hold my attention better. – David Welsh

Fairy Tail, , Vol. 16 | By Hiro Mashima | Kodansha Comics – The end of one arc and the start of another here, but there’s much to like in this transitional volume of Fairy Tail. It’s rare that an author actually lets you know that they’ve added and changed material from the weekly magazine version, but Mashima is proud to point out that he was able to expand the celebration in Chapter 128, and rightly so – it really helps to show the sheer joy and happiness that the town is seeing, as well as the somewhat melancholy departure of Laxus. Another villain with basic good intentions, Laxus simply can’t stay in Fairy Tail after what he’s done, and the melodrama is appropriate here. There’s also a brief chapter featuring Lucy and her father, as she discovers he’s lost everything. The scene where he confronts her is incredibly discomfiting (which is what is intended.) Finally, we start on a new quest, and meet a bunch of new people from various other guilds. Betcha two to one it’s the cute loli girl who becomes the new cast member. As ever, if you want more One Piece-esque shonen and don’t mind that it’s not quite as good, Fairy Tail is a lot of fun.-Sean Gaffney

I’ll Give It My All… Tomorrow, Vol. 4 | By Shunju Aono | Viz Media – The fourth volume of I’ll Give It My All… Tomorrow introduces a new character, Aya Unami, a twenty-three-year-old editor who sees parallels between failed manga-ka Shizuo Oguro and her own father, a failed novelist. The relationship between Unami and Oguro supplies most of the dramatic juice in volume four, as Unami tries to discourage Oguro from submitting more work to EKKE. (“I think you need to know when to give up,” she tells him at the end of their first meeting.) Though Oguro never persuades her to publish “Live to 300,” his latest excruciatingly autobiographical manuscript, Oguro does have an epiphany about his tough-talking editor: she might be the only person with the vision and honesty to help him improve. Whether she’s willing to coach him, and whether he can accept her guidance… well, that’s another story. -Katherine Dacey

No Longer Human | Based on the novel by Osamu Dazai; Adapted by Variety Art Works | East Press – Given the commercial and critical success of Osamu Dazai’s final novel, it’s no surprise that so many manga publishers have commissioned adaptations. Vertical, Inc. has just released the first volume of Usamaru Furuya’s 2009 version, which transplants the story from pre-war Japan to the present day, while JManga has dug into the vault for an older, more straightforward version from East Press. The East Press version suffers by comparison with Furuya’s, as the artwork is clumsy and the pacing hurried; the adaptation team tries too hard to include every scene from Dazai’s book, resulting in a string of brief, two-to-three page episodes that never gel into a coherent story. Readers unfamiliar with Dazai’s novel may find this brief comic book treatment a useful place to start, but are encouraged to seek out Donald Keene’s English translation for a more thorough introduction to Dazai’s unflinching style. -Katherine Dacey

Nura: Rise of the Yokai Clan, Vol. 6 | By Hiroshi Shiibashi | Viz Media – If you had any doubts about why VIZ licensed Nura, volume six should dispel them: it’s easily the most exciting installment to date, boasting several lengthy action sequences and a bevy of fierce-looking demons worthy of Tsukioka Yoshitoshi. The downside to all this activity, however, is that only the most committed reader will be able to follow the battles; Hiroshi Shiibashi stages too many separate fights at once, lurching back and forth between storylines with little regard for continuity. The second half of the volume is positively sedate in comparison, as Rikuo joins his human friends in exorcising a ghost with yakuza ties. Though the story follows a well-traveled path, Shiibashi manages a few scares and laughs, thanks to imaginative character designs and a denouement worthy of Scooby Doo himself. Fitfully entertaining. -Katherine Dacey

Only Serious About You, Vol. 1 | By Asou Kai | Digital Manga Publishing – Naoki Oosawa is a single dad balancing caring for his daughter Chizu and his busy work schedule at a restaurant. When Chizu falls ill, Oosawa accepts the help offered by a flirtatious gay customer, Seiichi Yoshioka, and ends up learning that Yoshioka is not quite as cavalier about relationships as it seems. There is much to like about this two-volume series so far. For one, it takes its time depicting the trust and friendship developing between Oosawa and Yoshioka, complete with many cute scenes in which Yoshioka bonds with Chizu. (There is an adorable moment involving hair ties, for example.) For another, I appreciate the way in which Yoshioka’s behavior can be reinterpreted once one begins to really understand him. That’s some sure-handed characterization. Ultimately, this was quite a pleasant surprise and I look forward to the second volume. – Michelle Smith

We Were There, Vol. 13 | By Yuuki Obata | Viz Media – In a romance series as melancholy as We Were There, there’s a point where even the most beloved relationship can become intolerable if it’s creating too much pain, and Nanami and Yano’s has finally reached that point, at least for this reader. This is not actually a criticism. It’s a testament to the realism of this series that I’ve come to regard Nanami as a friend who needs a good talking-to, in hopes that she’ll finally let go of her high school sweetheart and learn to appreciate what’s actually in front of her, “true love” be damned. Obata has a real knack for capturing some of the heart’s least fortunate truths and presenting them with both honesty and compassion, and this volume is a perfect example of that skill in action. Both quiet and complicated, We Were There is still one of the best ongoing series’ in Viz’s Shojo Beat catalogue. Recommended. – MJ

Pick of the Week: Sailors Moon & V

by , , and 5 Comments

It may be a slow week for shipping at Midtown Comics, but the Battle Robot picks out two easy favorites.

MICHELLE: It’s slim-pickings time again at Midtown Comics. Happily, though, two of the three releases (sorry, Ninja Girls!) are on my must-buy list. Forced to choose between them, I’d give my pick to volume two of Codename: Sailor V. Sure, the first volume was an episodic string of encounters between perky Minako and evil singing groups bent on making humanity their slaves, but it took a more serious turn in its final chapter that might bode well for volume two. I’ve read this before, but it was so long ago I don’t remember how things turn out, but I anticipate more glimpses of Usagi and friends as Minako comes closer to her eventual place with the rest of the team. If you’ve read volume one, you absolutely can’t miss volume two!

SEAN: Yes, hard as the decision may be, I’m going to have to pass on Ninja Girls as well. My pick is for the second volume of Pretty Guardian Sailor Moon. This second volume continues to give us reveals fast as lightning – if you watched the anime first, you might think it was rushing. In fact, it’s just cruising through its plot with no filler whatsoever. It’s possible Takeuchi originally planned to have this end in 3-4 volumes, as there’s a lot of revelation and backstory here, almost looking as if it’s setting up an ending. Of course, that could also be Takuechi just messing with our heads – there are some surprises sprinkled throughout, and even one of the bigger hoary old cliches trotted out is still done in a suitably dramatic fashion. Best of all, having wrapped up her plot in Code Name: Sailor V, Minako joins the cast at last, and our senshi team is complete (for now).

MJ: Well, I just read Sean’s pick, and I’m *sold*. It’s Sailor Moon for me, too! Though I do wish Midtown would hurry up and get Princess Knight!

DAVID: And I’ll second Michelle on the Codename front. Kodansha is making it easy this week!

Readers, what looks good to you this week?

Bookshelf Briefs 11/21/11

by , and Leave a Comment

This week, Sean, Kate, & Michelle take a look at recent releases from Viz Media, NETCOMICS, Vertical, and Seven Seas.

Dengeki Daisy, Vol. 7 | By Kyousuke Motomi | Viz Media – Well, we’d been waiting for a volume like this, and here it is. Mind you, it takes until the very end to finish pulling all its triggers. The start of the book is cute, funny, and has tinges of romance, just as this series has always done when it’s not trying to kill its heroine or dealing with backstory and intrigue. In particular, at first we think Akira is going to screw things up in a mild, typical shoujo way. His forced kiss, and Teru and Kurosaki’s response, are a real highlight. Then we get that 2nd half, where we discover the dangers of having your cell phone stolen. You could argue that Kurosaki is far too gullible, but honestly, he’s been telling himself for the last 6 volumes that he should suffer, so why are we surprised when he believes what he sees? And that cliffhanger? Oof. Volume 8 had better come soon and resolve this, or there will be a reckoning.– Sean Gaffney

Full House, Vol. 6 | By Sooyeon Won | NETCOMICS – Smooching! Rescues! Revelations! Haircuts! This volume has it all. We open with our leads hiding out from Ellie’s kidnapper in a swanky house conveniently located in the middle of nowhere. As they settle into their temporary digs—including the cutest let’s-see-whether-this-expired-food-is-any-good scene ever—they grow closer, with Ryder finally sharing with Ellie the details of his first love, Jasmine. But because he believes he is dying of cancer, he doesn’t follow up on their connection and once the truth is revealed to him, Ellie has already determined to move on with her life. It’s melorama at its finest, but I enjoyed it tremendously. I also appreciate how much Ellie has matured since the start of the series and watching easy-on-the-eyes Ryder moon about over her is great fun. I only wish these volumes were available in print because this is the kind of series that lends itself to weekend marathons. – Michelle Smith

Princess Knight, Part One | By Osamu Tezuka | Vertical, Inc. – Osamu Tezuka’s Princess Knight wasn’t the first shojo manga, but it was one of the most influential girls’ comics in postwar Japan. The story focuses on Sapphire, a princess who’s raised as a prince so that she may inherit her kingdom’s throne. When her parents’ duplicity comes to light, Sapphire goes on the lam, using her expert swordsmanship to defend her subjects from the wicked Duke Duralumin. Though the series’ gender politics are dated — Sapphire wants nothing more than to be able to wear a pretty dress — it’s easy to see why this story has enchanted several generations of Japanese readers: Sapphire has swashbuckling adventures *and* wins the hand of Prince Charming. Long unavailable in English, the new Vertical edition is a marked improvement over Kodansha’s bilingual one from 2002, thanks to Maya Rosewood’s fluid translation. A must for serious manga fans. -Katherine Dacey

RIN-NE, Vol. 7 | By Rumiko Takahashi | Viz Media – Like InuYasha before it, RIN-NE is like a manga sitcom, with a steadily growing cast of recurring characters who convene for different scenarios during which nothing ever changes about their interpersonal relationships. This volume features such stock settings as a summer festival and the beach, and none of the stories is really much of anything to get excited about. In fact, the final one, about a cursed crop of sweet potatoes (yes, really), is downright dumb. And yet, I can’t dislike this series. It just has this innate Takahashi charm that encourages acceptance of its weaker elements and compels me to keep checking in to see whether anything has actually really happened with the characters. I’m not sure whether I can recommend it to other people, but I’ll probably keep reading it. – Michelle Smith

Rin-Ne, Vol. 7 | By Rumiko Takahashi | Viz Media – This volume is a nice breather after the last, and has no real overall plot development. It does have a bit of character development, as Rinne’s feelings, which were always fairly clear to begin with, are becoming very obvious to anyone not named Sakura. Aside from that, it’s a typical Takahashi volume – lots of really goofy ideas (the while sweet potato story is a classic “how did she even come up with that?” idea from Takahashi, some abuse of its heroes (Rinne can’t catch a break, of course, but Tsubasa and Ageha also get their turn being the butt monkey), and the occasional sweet moment as a bone thrown to longtime readers (the festival chapter). If you’re waiting for something to actually develop, you should look elsewhere, but for those Viz readers who can’t imagine not having a Takahashi title they’re collecting, Rin-Ne will serve admirably.– Sean Gaffney

Toradora!, Vol. 3 | By Yuyuko Takemiya and Zekkyo | Seven Seas – After Soul Eater, this may be my second title where I find I’m reading it primarily for the art. To be more precise, I’m reading it for the Kushieda gags. Kushieda is a complete flake, and whenever she gets a scene where she acts especially flakey, the artist decides to draw it in a completely different style. This gives us what appears to be sordid game-show contestant Kushieda and bancho Kushieda, both of whom are worth the price of the manga alone. That said, the plot going on here (seeing Ami’s true self, and getting her to stpo being the devious manipulator) is handled well, and Taiga is still incredibly tsundere without making you want to smack her, i.e. the best kind. One art drawback, though – the introduction of the student council president, who also appears to be Kitamura’s crush, is undercut by her resemblance to Ami – I got the two mixed up almost immediately. Still, can’t have everything, and Toradora! continues to be a fun romantic comedy. And love those poses.– Sean Gaffney

Off the Shelf: Natsume Ono

by and 5 Comments

MJ: Well, hello, Michelle! Is it really time for another Manga Moveable Feast?

MICHELLE: It seems like every time I turn around there’s a new one!

MJ: Agreed! But when that Feast revolves around the likes of Natsume Ono, I’m not going to complain. So, we’ve each read some Ono this week in preparation for the Feast. Michelle, would you like to begin?

MICHELLE: Sure! It’s been a pretty busy time for me lately and while my tired brain balked at the daunting prospect of getting into Ono’s longer works, her collections of short stories presented an option that I can only describe as “undemanding,” and I mean that in the nicest way.

First, I read La Quinta Camera, which is a series of linked short stories revolving around an apartment in Italy. Four of its rooms are occupied by middle-aged men of incredibly “singular” personalities—Massimo, the landlord, who is nurturing and kind; Luca, the small hippy busker, who is sweet and child-like; Celestino, the short and mustachioed guy, who is annoying yet much-loved; and Al, the truck driver who is either asleep or at work. Massimo routinely takes in exchange students to let the fifth room and, as the story opens, Danish language student Charlotte arrives.

It’s a bit of a surprise when, in chapter two, Charlotte has moved out and been replaced by Alessandro, but this introduces the central gimmick of the book: in each chapter, there’s a new tenant. In a sort of… gentle and vague way, focus shifts amongst the residents during the course of six chapters, during which time Luca finds and loses love, Charlotte offers to have Al’s babies, and Massimo’s girlfriend announces that she’s pregnant, which means everyone must move out.

Objectively, I realize that works like House of Five Leaves are better than La Quinta Camera, but I have to say that I liked it a lot. I just simply like stories where people are nice to each other… where they remember to leave Christmas messages for the lonely Japanese kid left alone in their apartment over the holiday. With its light touch and pleasant feeling, his is the kind of brain balm I sometimes require.

MJ: There’s a real warmth to Ono’s short stories that indeed serve as kind of a healing balm, in my view. I don’t see this as being a lesser type of storytelling (even if I tend to prefer something a bit more epic), and it’s especially lovely in Ono’s hands. Sure, love something powerful, but a light touch can often be just what’s needed.

MICHELLE: I think I’m probably just not in the mood for something powerful as often as you are, hence my fondness for less-than-awesome media tie-in fiction. There’s some pressure to be profound when responding to Great Works that one just doesn’t feel when reading a book about Buffy. And so La Quinta Camera performed a similar function for me.

Anyhow, I suspect you have read something a bit more epic this week.

MJ: Well, I’m not sure if “epic” is an appropriate word for House of Five Leaves, though it’s long-form storytelling of course. But it’s rather leisurely, really, much like Ono’s shorter works but with expanded opportunity for exploration.

I tried to read volume four a while back, and somehow couldn’t latch on to it. I know now that it must have been me, because there’s a whole lot going on in this volume, and it clicked immediately with me on my second try.

Much of the volume revolves around Ginta, a new sort-of-member taken on reluctantly by the Five Leaves. He’s the cast-off son of a wealthy family who tricks his way into the Leaves, but not without revealing a whole lot more of himself than he intended. We also learn new things about the Leaves’ leader, Yaichi, in this volume, and it’s definitely not pretty.

What makes House of Five Leaves so consistently intriguing, though, is the failed samurai that provides the series’ heart. With Masa at its core, there’s always an odd mingling of warmth and unease running through the story. These feelings are where Masa lives, and one has the sense that this has always been the case. There’s a heartbreaking flashback in this volume, in which we see Masa being basically thrown out of his home for being so ill-suited as a samurai. Yet it’s hard to imagine exactly what he should be. He’s all ambiguity (and a little self-loathing), and certainly not a hero, yet it’s impossible not to care for him, and it’s obvious that Ono does.

I’ve loved this series from the beginning, and it’s only become more dear to me over time. It’s probably my favorite of Ono’s work, and that’s saying quite a lot. I look forward to the next volume.

MICHELLE: I read and loved the first volume, but when I recently attempted to read volume two (with a goal of catching up on the series) I had a similar experience in which it just failed to engage me somehow. With Ono’s short stories I found that having a dedicated amount of time to just sit and consume them in one sitting was ideal, so perhaps that’s where I went wrong with Five Leaves. I’ve definitely not given up on the series.

MJ: I’m glad you haven’t given up. It really is one of my favorite currently-running series.

So, speaking of Ono’s short stories, we both read Tesoro this week, just released from Viz. Want to talk about that a bit?

MICHELLE: Sure!

Tesoro (the Italian word for “treasure”) is a collection of fourteen stories by Natsume Ono. The earliest works were published as doujinshi, while more recent stories appeared in IKKI. Unlike La Quinta Camera, the stories here are not overtly serialized, though there are some recurring characters and common themes (like curmudgeonly guys who really love their wives).

For the most part, though, the stories seem to be short expressions of ideas that don’t go very far in developing the characters. Some stories are whimsical—the introductory piece, for example, consists entirely of a bear taking the bus to get some donuts then going home again—while some are more serious, like the story of an orphaned girl who sees a potential father in every famous man of whom she becomes aware. It’s an intriguing concept, and one can definitely see seeds of Ono’s eventual storytelling abilities, but it’s lacking the warmth that imbued even the loose-limbed La Quinta Camera with touching moments.

I definitely enjoyed it, don’t get me wrong. But I think it would be more enjoyable to those already familiar with Ono rather than for those who are wondering who she is and what the fuss is all about.

MJ: I agree, though, like you, I certainly enjoyed Tesoro. One of my favorite stories in the volume was “senzo titolo #3,” about a father taking his young son to see his estranged father for the first time. There’s a lot packed into this little story–apprehension, excitement, some lingering resentment–all without ever actually seeing the grandfather ourselves. It’s a little glimpse of Ono at her best. There are a lot of moments like that here.

I think you’re absolutely right, though. This is a collection for fans to linger over, rather than an effective introduction to the author.

Did you have a favorite story?

MICHELLE: Oh, I loved “senzo titolo #3” because I loved how the dad started singing the Coke jingle in public and the kid was embarrassed. :) I thought that was a nice little true-to-life moment.

I think my favorite is “Moyashi Couple” (or “bean sprout” couple), because the husband is seen as a grouch by the neighbors but once he learns the neighbors think he and his wife don’t get along, he makes sure that they go out and about in public to disprove that notion. There’s a really nice line in it about the neighbors being able to tell that he’s actually kind because, though he usually walks in an impatient swagger, when he’s with his wife he automatically assumes a more leisurely pace so as to be able to walk beside her. Maybe I’m just a sucker for crusty guys with hearts of gold, but I think that’s the story I won’t forget from this collection.

MJ: I liked that too, and probably for similar reasons. I was also fond of “The Frooms,” about a boy with two domineering older sisters, whose dad tries (and fails miserably) to equalize things. It’s funny and poignant all at once. Poor dad!

MICHELLE: Oh yes, I love how that poor dad is just flabbergasted that his big plan to give his son a dazzling gift is derailed.

It occurs to me that these are like drabbles. Little ideas that suggest what a longer extrapolation on the theme could be like without actually, y’know, extrapolating.

MJ: That’s an excellent point, Michelle! They do indeed have the same, wispy quality. This is what a real “slice of life” looks like.

MICHELLE: Exactly! Perhaps the term has never been more literally applied!

MJ: So while I’d be more likely to hand a new reader something like Ristorante Paradiso, Tesoro really is a treat for Ono’s existing fans.

Read more about the work of Natsume Ono at this month’s Manga Moveable Feast, hosted by Manga Widget’s Alex Hoffman.